Songs like Böri Khan & Xianniang by Harry Gregson-Williams
Based on a tempo of (+/- 10%) and a similar genre
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Steve Jablonsky
The Battle Room
138 bpm • G min • 03:03 • -17db
43% Popularity • 38% Danceability • 31% Energy • 8% Liveness
93% Instrumentalness • 4% Positiveness
43% Popularity • 38% Danceability • 31% Energy • 8% Liveness
93% Instrumentalness • 4% Positiveness
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Harry Gregson-Williams
Let The Games Begin
138 bpm • G# Maj • 03:02 • -12db
30% Popularity • 41% Danceability • 27% Energy • 8% Liveness
77% Instrumentalness • 28% Positiveness
30% Popularity • 41% Danceability • 27% Energy • 8% Liveness
77% Instrumentalness • 28% Positiveness
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Jóhann Jóhannsson
Rowing
138 bpm • G min • 01:42 • -18db
55% Popularity • 60% Danceability • 27% Energy • 13% Liveness
96% Instrumentalness • 10% Positiveness
55% Popularity • 60% Danceability • 27% Energy • 13% Liveness
96% Instrumentalness • 10% Positiveness
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Ilan Eshkeri
Mika And Kai
138 bpm • D min • 02:45 • -27.63db
48% Popularity • 15% Danceability • 3% Energy • 6% Liveness
73% Instrumentalness • 4% Positiveness
48% Popularity • 15% Danceability • 3% Energy • 6% Liveness
73% Instrumentalness • 4% Positiveness
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Rob Simonsen
To a Future with an End
139 bpm • D# Maj • 01:41 • -17.13db
33% Popularity • 15% Danceability • 37% Energy • 8% Liveness
99% Instrumentalness • 5% Positiveness
33% Popularity • 15% Danceability • 37% Energy • 8% Liveness
99% Instrumentalness • 5% Positiveness
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Alan Silvestri
Totally Fine
139 bpm • G min • 04:29 • -31.02db
39% Popularity • 15% Danceability • 2% Energy • 11% Liveness
77% Instrumentalness • 3% Positiveness
39% Popularity • 15% Danceability • 2% Energy • 11% Liveness
77% Instrumentalness • 3% Positiveness
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William Ross
The Drive To Immaculata ("The Mighty Mac...
139 bpm • A Maj • 02:29 • -21db
38% Popularity • 29% Danceability • 11% Energy • 8% Liveness
91% Instrumentalness • 10% Positiveness
38% Popularity • 29% Danceability • 11% Energy • 8% Liveness
91% Instrumentalness • 10% Positiveness
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Christian Henson
Opening Titles
137 bpm • G# Maj • 02:30 • -18.55db
35% Popularity • 16% Danceability • 20% Energy • 9% Liveness
95% Instrumentalness • 4% Positiveness
35% Popularity • 16% Danceability • 20% Energy • 9% Liveness
95% Instrumentalness • 4% Positiveness
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Michael Kamen
Swamp - Instrumental
137 bpm • F Maj • 02:08 • -27.74db
24% Popularity • 22% Danceability • 3% Energy • 9% Liveness
79% Instrumentalness • 4% Positiveness
24% Popularity • 22% Danceability • 3% Energy • 9% Liveness
79% Instrumentalness • 4% Positiveness
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Carter Burwell
To Run Or Not To Run
137 bpm • G Maj • 04:09 • -21.73db
17% Popularity • 15% Danceability • 1% Energy • 14% Liveness
95% Instrumentalness • 4% Positiveness
17% Popularity • 15% Danceability • 1% Energy • 14% Liveness
95% Instrumentalness • 4% Positiveness
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Harald Kloser
Tornado Warning
139 bpm • C# Maj • 02:00 • -21.71db
32% Popularity • 14% Danceability • 6% Energy • 29% Liveness
96% Instrumentalness • 4% Positiveness
32% Popularity • 14% Danceability • 6% Energy • 29% Liveness
96% Instrumentalness • 4% Positiveness
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Michael Giacchino
Bundle of Joy
137 bpm • A min • 02:48 • -20.32db
63% Popularity • 31% Danceability • 8% Energy • 6% Liveness
49% Instrumentalness • 5% Positiveness
63% Popularity • 31% Danceability • 8% Energy • 6% Liveness
49% Instrumentalness • 5% Positiveness
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William Ross
Young Macy
139 bpm • D Maj • 01:02 • -25db
45% Popularity • 14% Danceability • 3% Energy • 7% Liveness
88% Instrumentalness • 10% Positiveness
45% Popularity • 14% Danceability • 3% Energy • 7% Liveness
88% Instrumentalness • 10% Positiveness
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Klaus Badelt
Professor Alexander Hartdegen
137 bpm • A min • 03:26 • -17db
29% Popularity • 27% Danceability • 22% Energy • 24% Liveness
52% Instrumentalness • 16% Positiveness
29% Popularity • 27% Danceability • 22% Energy • 24% Liveness
52% Instrumentalness • 16% Positiveness
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Carlos Rafael Rivera
Beth's Story
139 bpm • C min • 02:07 • -27db
58% Popularity • 28% Danceability • 3% Energy • 9% Liveness
84% Instrumentalness • 8% Positiveness
58% Popularity • 28% Danceability • 3% Energy • 9% Liveness
84% Instrumentalness • 8% Positiveness
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Bear McCreary
Dance of the Druids
140 bpm • A min • 04:38 • -14.18db
55% Popularity • 18% Danceability • 34% Energy • 13% Liveness
66% Instrumentalness • 4% Positiveness
55% Popularity • 18% Danceability • 34% Energy • 13% Liveness
66% Instrumentalness • 4% Positiveness
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Mychael Danna
Training
136 bpm • E min • 02:08 • -21.53db
23% Popularity • 57% Danceability • 15% Energy • 14% Liveness
76% Instrumentalness • 19% Positiveness
23% Popularity • 57% Danceability • 15% Energy • 14% Liveness
76% Instrumentalness • 19% Positiveness
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Jóhann Jóhannsson
Epilogue
136 bpm • A min • 01:48 • -24.71db
66% Popularity • 25% Danceability • 9% Energy • 11% Liveness
87% Instrumentalness • 13% Positiveness
66% Popularity • 25% Danceability • 9% Energy • 11% Liveness
87% Instrumentalness • 13% Positiveness
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William Ross
Dad's Advice
137 bpm • C# Maj • 01:57 • -27.71db
38% Popularity • 15% Danceability • 5% Energy • 12% Liveness
91% Instrumentalness • 4% Positiveness
38% Popularity • 15% Danceability • 5% Energy • 12% Liveness
91% Instrumentalness • 4% Positiveness
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Michael Giacchino
Your Father Would Be Proud
140 bpm • G Maj • 04:51 • -15.56db
44% Popularity • 14% Danceability • 12% Energy • 8% Liveness
91% Instrumentalness • 3% Positiveness
44% Popularity • 14% Danceability • 12% Energy • 8% Liveness
91% Instrumentalness • 3% Positiveness
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John Powell
Lift Off
135 bpm • A# Maj • 03:42 • -9.25db
20% Popularity • 19% Danceability • 49% Energy • 37% Liveness
92% Instrumentalness • 10% Positiveness
20% Popularity • 19% Danceability • 49% Energy • 37% Liveness
92% Instrumentalness • 10% Positiveness
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Bear McCreary
Fallen Through Time
140 bpm • A min • 05:38 • -16db
47% Popularity • 19% Danceability • 32% Energy • 9% Liveness
78% Instrumentalness • 6% Positiveness
47% Popularity • 19% Danceability • 32% Energy • 9% Liveness
78% Instrumentalness • 6% Positiveness
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Mychael Danna
On Its Head
135 bpm • D# Maj • 01:34 • -18.36db
38% Popularity • 51% Danceability • 25% Energy • 11% Liveness
90% Instrumentalness • 18% Positiveness
38% Popularity • 51% Danceability • 25% Energy • 11% Liveness
90% Instrumentalness • 18% Positiveness
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Stephen Warbeck
Leave Taking
135 bpm • G min • 03:04 • -27db
37% Popularity • 16% Danceability • 2% Energy • 12% Liveness
90% Instrumentalness • 4% Positiveness
37% Popularity • 16% Danceability • 2% Energy • 12% Liveness
90% Instrumentalness • 4% Positiveness
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Steve Jablonsky
Let Us Quest!
135 bpm • E min • 04:29 • -13.33db
30% Popularity • 42% Danceability • 43% Energy • 9% Liveness
94% Instrumentalness • 16% Positiveness
30% Popularity • 42% Danceability • 43% Energy • 9% Liveness
94% Instrumentalness • 16% Positiveness
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Christian Henson
All's Well That End's Well
135 bpm • B Maj • 04:13 • -20.47db
24% Popularity • 20% Danceability • 9% Energy • 10% Liveness
71% Instrumentalness • 4% Positiveness
24% Popularity • 20% Danceability • 9% Energy • 10% Liveness
71% Instrumentalness • 4% Positiveness
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Carlos Rafael Rivera
You're Gloating
134 bpm • F min • 01:06 • -27.89db
64% Popularity • 27% Danceability • 10% Energy • 8% Liveness
91% Instrumentalness • 14% Positiveness
64% Popularity • 27% Danceability • 10% Energy • 8% Liveness
91% Instrumentalness • 14% Positiveness
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Patrick Doyle
Merida's Home
142 bpm • D Maj • 01:32 • -10.11db
49% Popularity • 18% Danceability • 50% Energy • 8% Liveness
99% Instrumentalness • 21% Positiveness
49% Popularity • 18% Danceability • 50% Energy • 8% Liveness
99% Instrumentalness • 21% Positiveness
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Bear McCreary
The Stranger
134 bpm • B min • 05:03 • -17.81db
34% Popularity • 16% Danceability • 18% Energy • 10% Liveness
95% Instrumentalness • 4% Positiveness
34% Popularity • 16% Danceability • 18% Energy • 10% Liveness
95% Instrumentalness • 4% Positiveness
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Nicholas Hooper
Opening
142 bpm • G Maj • 02:54 • -21.7db
48% Popularity • 22% Danceability • 19% Energy • 11% Liveness
87% Instrumentalness • 11% Positiveness
48% Popularity • 22% Danceability • 19% Energy • 11% Liveness
87% Instrumentalness • 11% Positiveness
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Joseph Trapanese
Ask the Saints
133 bpm • F Maj • 06:32 • -25.69db
30% Popularity • 16% Danceability • 10% Energy • 33% Liveness
82% Instrumentalness • 4% Positiveness
30% Popularity • 16% Danceability • 10% Energy • 33% Liveness
82% Instrumentalness • 4% Positiveness
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Alan Menken
Waiting for the Lights
143 bpm • E Maj • 02:47 • -16.32db
50% Popularity • 18% Danceability • 12% Energy • 49% Liveness
82% Instrumentalness • 5% Positiveness
50% Popularity • 18% Danceability • 12% Energy • 49% Liveness
82% Instrumentalness • 5% Positiveness
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Harald Kloser
President's Speech
133 bpm • A min • 04:20 • -21.1db
32% Popularity • 16% Danceability • 15% Energy • 11% Liveness
88% Instrumentalness • 4% Positiveness
32% Popularity • 16% Danceability • 15% Energy • 11% Liveness
88% Instrumentalness • 4% Positiveness
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Sonya Belousova
Everytime You Leave
144 bpm • B min • 02:07 • -15db
52% Popularity • 33% Danceability • 31% Energy • 11% Liveness
93% Instrumentalness • 13% Positiveness
52% Popularity • 33% Danceability • 31% Energy • 11% Liveness
93% Instrumentalness • 13% Positiveness
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John Powell
Once There Were Dragons
144 bpm • A min • 05:45 • -17.55db
48% Popularity • 16% Danceability • 29% Energy • 11% Liveness
77% Instrumentalness • 8% Positiveness
48% Popularity • 16% Danceability • 29% Energy • 11% Liveness
77% Instrumentalness • 8% Positiveness
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Roque Baños
Young Nickerson
132 bpm • F Maj • 02:16 • -20.17db
25% Popularity • 32% Danceability • 16% Energy • 10% Liveness
35% Instrumentalness • 4% Positiveness
25% Popularity • 32% Danceability • 16% Energy • 10% Liveness
35% Instrumentalness • 4% Positiveness
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Marc Streitenfeld
Destiny
144 bpm • A min • 03:36 • -17db
45% Popularity • 19% Danceability • 18% Energy • 4% Liveness
95% Instrumentalness • 10% Positiveness
45% Popularity • 19% Danceability • 18% Energy • 4% Liveness
95% Instrumentalness • 10% Positiveness
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John Ottman
Hope (Xavier's Theme)
132 bpm • A min • 04:48 • -21.29db
45% Popularity • 36% Danceability • 7% Energy • 7% Liveness
90% Instrumentalness • 4% Positiveness
45% Popularity • 36% Danceability • 7% Energy • 7% Liveness
90% Instrumentalness • 4% Positiveness
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Steve Jablonsky
My Name Is Lincoln
132 bpm • C Maj • 03:42 • -18.04db
54% Popularity • 16% Danceability • 40% Energy • 11% Liveness
92% Instrumentalness • 10% Positiveness
54% Popularity • 16% Danceability • 40% Energy • 11% Liveness
92% Instrumentalness • 10% Positiveness
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David Buckley
The Kingdom of Dreams (Main Title Theme)
131 bpm • G# Maj • 02:14 • -16.24db
40% Popularity • 36% Danceability • 37% Energy • 10% Liveness
93% Instrumentalness • 3% Positiveness
40% Popularity • 36% Danceability • 37% Energy • 10% Liveness
93% Instrumentalness • 3% Positiveness
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Steven Price
An Ingenious Technique
146 bpm • F Maj • 02:49 • -15db
28% Popularity • 32% Danceability • 48% Energy • 6% Liveness
98% Instrumentalness • 9% Positiveness
28% Popularity • 32% Danceability • 48% Energy • 6% Liveness
98% Instrumentalness • 9% Positiveness
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Marco Beltrami
First Memory
146 bpm • A# Maj • 01:30 • -20db
33% Popularity • 18% Danceability • 10% Energy • 32% Liveness
91% Instrumentalness • 4% Positiveness
33% Popularity • 18% Danceability • 10% Energy • 32% Liveness
91% Instrumentalness • 4% Positiveness
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Jerry Goldsmith
Giza Port
130 bpm • C# Maj • 01:58 • -31.08db
37% Popularity • 31% Danceability • 7% Energy • 11% Liveness
59% Instrumentalness • 9% Positiveness
37% Popularity • 31% Danceability • 7% Energy • 11% Liveness
59% Instrumentalness • 9% Positiveness
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Ilan Eshkeri
Centurion
130 bpm • E min • 03:05 • -21db
44% Popularity • 30% Danceability • 22% Energy • 10% Liveness
73% Instrumentalness • 12% Positiveness
44% Popularity • 30% Danceability • 22% Energy • 10% Liveness
73% Instrumentalness • 12% Positiveness
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Alan Silvestri
The Real Hero
130 bpm • G Maj • 05:54 • -18.02db
46% Popularity • 18% Danceability • 6% Energy • 30% Liveness
90% Instrumentalness • 4% Positiveness
46% Popularity • 18% Danceability • 6% Energy • 30% Liveness
90% Instrumentalness • 4% Positiveness
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Harry Gregson-Williams
Mulan Leaves Home
130 bpm • D min • 03:50 • -26.09db
21% Popularity • 17% Danceability • 7% Energy • 7% Liveness
80% Instrumentalness • 3% Positiveness
21% Popularity • 17% Danceability • 7% Energy • 7% Liveness
80% Instrumentalness • 3% Positiveness
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Audiomachine
Above and Beyond
130 bpm • C Maj • 02:51 • -12.6db
43% Popularity • 44% Danceability • 44% Energy • 10% Liveness
92% Instrumentalness • 33% Positiveness
43% Popularity • 44% Danceability • 44% Energy • 10% Liveness
92% Instrumentalness • 33% Positiveness
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Bear McCreary
Khazad-dûm
130 bpm • D min • 03:20 • -13db
43% Popularity • 44% Danceability • 29% Energy • 10% Liveness
94% Instrumentalness • 20% Positiveness
43% Popularity • 44% Danceability • 29% Energy • 10% Liveness
94% Instrumentalness • 20% Positiveness
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Andrew Lockington
San Andreas End Credits
130 bpm • D Maj • 02:57 • -11.02db
21% Popularity • 25% Danceability • 67% Energy • 29% Liveness
67% Instrumentalness • 47% Positiveness
21% Popularity • 25% Danceability • 67% Energy • 29% Liveness
67% Instrumentalness • 47% Positiveness
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David Arnold
Who You Really Are
129 bpm • A min • 02:35 • -15.59db
18% Popularity • 22% Danceability • 27% Energy • 9% Liveness
90% Instrumentalness • 13% Positiveness
18% Popularity • 22% Danceability • 27% Energy • 9% Liveness
90% Instrumentalness • 13% Positiveness
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Alan Silvestri
Night At The Museum
129 bpm • G# Maj • 02:35 • -16.84db
44% Popularity • 19% Danceability • 30% Energy • 18% Liveness
77% Instrumentalness • 6% Positiveness
44% Popularity • 19% Danceability • 30% Energy • 18% Liveness
77% Instrumentalness • 6% Positiveness
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Harry Gregson-Williams
Ancestors
147 bpm • D Maj • 03:21 • -18.56db
27% Popularity • 20% Danceability • 20% Energy • 12% Liveness
69% Instrumentalness • 7% Positiveness
27% Popularity • 20% Danceability • 20% Energy • 12% Liveness
69% Instrumentalness • 7% Positiveness
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John Powell
Forbidden Friendship
129 bpm • F# Maj • 04:11 • -15.14db
56% Popularity • 28% Danceability • 30% Energy • 55% Liveness
94% Instrumentalness • 38% Positiveness
56% Popularity • 28% Danceability • 30% Energy • 55% Liveness
94% Instrumentalness • 38% Positiveness
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Marc Streitenfeld
Ambush
147 bpm • E min • 01:15 • -12.82db
49% Popularity • 30% Danceability • 55% Energy • 42% Liveness
93% Instrumentalness • 6% Positiveness
49% Popularity • 30% Danceability • 55% Energy • 42% Liveness
93% Instrumentalness • 6% Positiveness
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Alexandre Desplat
Statues
129 bpm • C# Maj • 02:24 • -20.5db
55% Popularity • 32% Danceability • 24% Energy • 10% Liveness
89% Instrumentalness • 8% Positiveness
55% Popularity • 32% Danceability • 24% Energy • 10% Liveness
89% Instrumentalness • 8% Positiveness
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Fernando Velázquez
Buffalo
129 bpm • G Maj • 02:08 • -21.93db
22% Popularity • 29% Danceability • 13% Energy • 12% Liveness
89% Instrumentalness • 14% Positiveness
22% Popularity • 29% Danceability • 13% Energy • 12% Liveness
89% Instrumentalness • 14% Positiveness
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Trevor Morris
Dragon Age Inquisition Theme
128 bpm • D Maj • 02:52 • -12.67db
52% Popularity • 42% Danceability • 53% Energy • 15% Liveness
89% Instrumentalness • 6% Positiveness
52% Popularity • 42% Danceability • 53% Energy • 15% Liveness
89% Instrumentalness • 6% Positiveness
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Harry Gregson-Williams
Mulan Rides into Battle - Extended
147 bpm • C min • 05:41 • -13.91db
26% Popularity • 21% Danceability • 58% Energy • 10% Liveness
92% Instrumentalness • 19% Positiveness
26% Popularity • 21% Danceability • 58% Energy • 10% Liveness
92% Instrumentalness • 19% Positiveness
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David Arnold
Ship to Shore
128 bpm • D min • 03:52 • -29.02db
27% Popularity • 17% Danceability • 3% Energy • 8% Liveness
73% Instrumentalness • 4% Positiveness
27% Popularity • 17% Danceability • 3% Energy • 8% Liveness
73% Instrumentalness • 4% Positiveness
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Christian Henson
Into the Book
128 bpm • D# Maj • 03:45 • -21.11db
26% Popularity • 17% Danceability • 12% Energy • 6% Liveness
73% Instrumentalness • 4% Positiveness
26% Popularity • 17% Danceability • 12% Energy • 6% Liveness
73% Instrumentalness • 4% Positiveness
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Alexandre Desplat
Obliviate
150 bpm • C Maj • 03:02 • -19db
51% Popularity • 29% Danceability • 20% Energy • 10% Liveness
95% Instrumentalness • 4% Positiveness
51% Popularity • 29% Danceability • 20% Energy • 10% Liveness
95% Instrumentalness • 4% Positiveness
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Simon Franglen
Payakan
127 bpm • D Maj • 03:30 • -18.33db
37% Popularity • 17% Danceability • 16% Energy • 8% Liveness
92% Instrumentalness • 3% Positiveness
37% Popularity • 17% Danceability • 16% Energy • 8% Liveness
92% Instrumentalness • 3% Positiveness
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Steve Jablonsky
Optimus
150 bpm • G min • 03:15 • -17db
48% Popularity • 15% Danceability • 39% Energy • 12% Liveness
92% Instrumentalness • 4% Positiveness
48% Popularity • 15% Danceability • 39% Energy • 12% Liveness
92% Instrumentalness • 4% Positiveness
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James Newton Howard
Eptesicus
150 bpm • G min • 04:20 • -27.06db
57% Popularity • 12% Danceability • 7% Energy • 8% Liveness
93% Instrumentalness • 4% Positiveness
57% Popularity • 12% Danceability • 7% Energy • 8% Liveness
93% Instrumentalness • 4% Positiveness
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Nicholas Britell
Antiphon
150 bpm • C min • 02:16 • -18.8db
45% Popularity • 49% Danceability • 37% Energy • 10% Liveness
81% Instrumentalness • 7% Positiveness
45% Popularity • 49% Danceability • 37% Energy • 10% Liveness
81% Instrumentalness • 7% Positiveness
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Christian Henson
Running from Moonacre / Loveday
150 bpm • G Maj • 01:40 • -22db
33% Popularity • 25% Danceability • 14% Energy • 9% Liveness
90% Instrumentalness • 3% Positiveness
33% Popularity • 25% Danceability • 14% Energy • 9% Liveness
90% Instrumentalness • 3% Positiveness
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Harry Gregson-Williams
The Blitz, 1940
126 bpm • G# Maj • 02:32 • -13db
36% Popularity • 44% Danceability • 50% Energy • 19% Liveness
96% Instrumentalness • 12% Positiveness
36% Popularity • 44% Danceability • 50% Energy • 19% Liveness
96% Instrumentalness • 12% Positiveness
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Patrick Doyle
Sons of Odin
126 bpm • F Maj • 01:48 • -16.56db
44% Popularity • 48% Danceability • 50% Energy • 10% Liveness
98% Instrumentalness • 24% Positiveness
44% Popularity • 48% Danceability • 50% Energy • 10% Liveness
98% Instrumentalness • 24% Positiveness
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Steve Jablonsky
The All Spark
150 bpm • D min • 03:34 • -17db
50% Popularity • 35% Danceability • 31% Energy • 10% Liveness
61% Instrumentalness • 30% Positiveness
50% Popularity • 35% Danceability • 31% Energy • 10% Liveness
61% Instrumentalness • 30% Positiveness
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David Arnold
Addicted to a Certain Lifestyle
125 bpm • A min • 03:50 • -21.65db
31% Popularity • 19% Danceability • 8% Energy • 9% Liveness
95% Instrumentalness • 4% Positiveness
31% Popularity • 19% Danceability • 8% Energy • 9% Liveness
95% Instrumentalness • 4% Positiveness
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John Powell
Building the Crate
153 bpm • A min • 03:33 • -11.09db
34% Popularity • 26% Danceability • 42% Energy • 10% Liveness
76% Instrumentalness • 20% Positiveness
34% Popularity • 26% Danceability • 42% Energy • 10% Liveness
76% Instrumentalness • 20% Positiveness
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Christian Henson
Milk and Cookies
152 bpm • G min • 01:18 • -26.73db
44% Popularity • 23% Danceability • 5% Energy • 12% Liveness
30% Instrumentalness • 8% Positiveness
44% Popularity • 23% Danceability • 5% Energy • 12% Liveness
30% Instrumentalness • 8% Positiveness
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Harry Gregson-Williams
A New World
125 bpm • D# Maj • 04:21 • -26.7db
37% Popularity • 17% Danceability • 7% Energy • 15% Liveness
93% Instrumentalness • 4% Positiveness
37% Popularity • 17% Danceability • 7% Energy • 15% Liveness
93% Instrumentalness • 4% Positiveness
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Jan A.P. Kaczmarek
Why Does She Have To Die? - Finding Neve...
154 bpm • A Maj • 02:05 • -18.08db
36% Popularity • 11% Danceability • 17% Energy • 12% Liveness
93% Instrumentalness • 4% Positiveness
36% Popularity • 11% Danceability • 17% Energy • 12% Liveness
93% Instrumentalness • 4% Positiveness
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Steve Jablonsky
Bumblebee
152 bpm • D min • 03:56 • -19db
46% Popularity • 33% Danceability • 22% Energy • 14% Liveness
84% Instrumentalness • 4% Positiveness
46% Popularity • 33% Danceability • 22% Energy • 14% Liveness
84% Instrumentalness • 4% Positiveness
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George Fenton
Leaping Penguins
123 bpm • D Maj • 01:28 • -16db
34% Popularity • 36% Danceability • 26% Energy • 27% Liveness
68% Instrumentalness • 16% Positiveness
34% Popularity • 36% Danceability • 26% Energy • 27% Liveness
68% Instrumentalness • 16% Positiveness
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John Powell
This Is Berk
123 bpm • D# Maj • 04:10 • -9.46db
57% Popularity • 26% Danceability • 49% Energy • 23% Liveness
81% Instrumentalness • 30% Positiveness
57% Popularity • 26% Danceability • 49% Energy • 23% Liveness
81% Instrumentalness • 30% Positiveness
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Alan Silvestri
Even for You
124 bpm • A min • 02:16 • -15db
42% Popularity • 17% Danceability • 18% Energy • 10% Liveness
90% Instrumentalness • 4% Positiveness
42% Popularity • 17% Danceability • 18% Energy • 10% Liveness
90% Instrumentalness • 4% Positiveness
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Harry Gregson-Williams
Evacuating London
152 bpm • E min • 03:38 • -17.38db
48% Popularity • 16% Danceability • 23% Energy • 12% Liveness
71% Instrumentalness • 4% Positiveness
48% Popularity • 16% Danceability • 23% Energy • 12% Liveness
71% Instrumentalness • 4% Positiveness
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Rachel Portman
End Titles
122 bpm • E min • 02:08 • -20db
45% Popularity • 18% Danceability • 17% Energy • 21% Liveness
90% Instrumentalness • 7% Positiveness
45% Popularity • 18% Danceability • 17% Energy • 21% Liveness
90% Instrumentalness • 7% Positiveness
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Atli Örvarsson
The Last Confederate - Main Title
122 bpm • D min • 01:26 • -19db
25% Popularity • 22% Danceability • 10% Energy • 11% Liveness
94% Instrumentalness • 9% Positiveness
25% Popularity • 22% Danceability • 10% Energy • 11% Liveness
94% Instrumentalness • 9% Positiveness
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Christian Henson
Maria's Room
122 bpm • B Maj • 01:30 • -21.13db
50% Popularity • 17% Danceability • 20% Energy • 10% Liveness
90% Instrumentalness • 3% Positiveness
50% Popularity • 17% Danceability • 20% Energy • 10% Liveness
90% Instrumentalness • 3% Positiveness
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John Powell
See You Tomorrow
123 bpm • G Maj • 03:53 • -10db
50% Popularity • 43% Danceability • 58% Energy • 12% Liveness
85% Instrumentalness • 22% Positiveness
50% Popularity • 43% Danceability • 58% Energy • 12% Liveness
85% Instrumentalness • 22% Positiveness
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William Ross
We'll Be #1
122 bpm • A# Maj • 01:52 • -22db
37% Popularity • 34% Danceability • 8% Energy • 13% Liveness
91% Instrumentalness • 6% Positiveness
37% Popularity • 34% Danceability • 8% Energy • 13% Liveness
91% Instrumentalness • 6% Positiveness
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Nicholas Hooper
The Room of Requirements
156 bpm • C Maj • 06:07 • -20.92db
43% Popularity • 35% Danceability • 13% Energy • 8% Liveness
43% Instrumentalness • 4% Positiveness
43% Popularity • 35% Danceability • 13% Energy • 8% Liveness
43% Instrumentalness • 4% Positiveness
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Steven Price
Shenzou
121 bpm • C# min • 06:11 • -12.01db
38% Popularity • 30% Danceability • 50% Energy • 16% Liveness
89% Instrumentalness • 4% Positiveness
38% Popularity • 30% Danceability • 50% Energy • 16% Liveness
89% Instrumentalness • 4% Positiveness
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Jerry Goldsmith
Haircut
158 bpm • C min • 01:18 • -8.8db
50% Popularity • 43% Danceability • 90% Energy • 11% Liveness
80% Instrumentalness • 19% Positiveness
50% Popularity • 43% Danceability • 90% Energy • 11% Liveness
80% Instrumentalness • 19% Positiveness
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Mychael Danna
Candle Of Consciousness
120 bpm • D min • 02:25 • -25.02db
28% Popularity • 30% Danceability • 9% Energy • 10% Liveness
81% Instrumentalness • 3% Positiveness
28% Popularity • 30% Danceability • 9% Energy • 10% Liveness
81% Instrumentalness • 3% Positiveness
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Carlos Rafael Rivera
Ceiling Games
120 bpm • F Maj • 02:17 • -13db
51% Popularity • 37% Danceability • 29% Energy • 12% Liveness
92% Instrumentalness • 12% Positiveness
51% Popularity • 37% Danceability • 29% Energy • 12% Liveness
92% Instrumentalness • 12% Positiveness
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Roque Baños
Chase Walking Nantucket
120 bpm • D min • 02:05 • -16db
24% Popularity • 51% Danceability • 60% Energy • 12% Liveness
90% Instrumentalness • 4% Positiveness
24% Popularity • 51% Danceability • 60% Energy • 12% Liveness
90% Instrumentalness • 4% Positiveness
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John Powell
Escape to Paradise
120 bpm • G Maj • 04:59 • -10.1db
20% Popularity • 32% Danceability • 50% Energy • 48% Liveness
68% Instrumentalness • 24% Positiveness
20% Popularity • 32% Danceability • 50% Energy • 48% Liveness
68% Instrumentalness • 24% Positiveness
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Steven Price
Norman
120 bpm • A# Maj • 02:50 • -16.45db
53% Popularity • 29% Danceability • 47% Energy • 14% Liveness
88% Instrumentalness • 8% Positiveness
53% Popularity • 29% Danceability • 47% Energy • 14% Liveness
88% Instrumentalness • 8% Positiveness
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Mike Higham
A Place Like This
120 bpm • G min • 01:43 • -17db
36% Popularity • 55% Danceability • 12% Energy • 10% Liveness
91% Instrumentalness • 5% Positiveness
36% Popularity • 55% Danceability • 12% Energy • 10% Liveness
91% Instrumentalness • 5% Positiveness
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Trevor Rabin
Page 47
120 bpm • D min • 02:39 • -11.81db
45% Popularity • 23% Danceability • 34% Energy • 33% Liveness
36% Instrumentalness • 7% Positiveness
45% Popularity • 23% Danceability • 34% Energy • 33% Liveness
36% Instrumentalness • 7% Positiveness
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Guy Farley
Family
120 bpm • A min • 01:47 • -17.68db
48% Popularity • 40% Danceability • 15% Energy • 7% Liveness
94% Instrumentalness • 5% Positiveness
48% Popularity • 40% Danceability • 15% Energy • 7% Liveness
94% Instrumentalness • 5% Positiveness
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Michael Price
The Game is On
120 bpm • C Maj • 03:40 • -19.28db
45% Popularity • 32% Danceability • 29% Energy • 11% Liveness
79% Instrumentalness • 4% Positiveness
45% Popularity • 32% Danceability • 29% Energy • 11% Liveness
79% Instrumentalness • 4% Positiveness
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Mark Isham
Daniel and Ruth
120 bpm • G Maj • 02:10 • -21.71db
35% Popularity • 19% Danceability • 7% Energy • 9% Liveness
97% Instrumentalness • 4% Positiveness
35% Popularity • 19% Danceability • 7% Energy • 9% Liveness
97% Instrumentalness • 4% Positiveness
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Steven Price
Emma
120 bpm • D min • 02:35 • -15db
49% Popularity • 41% Danceability • 43% Energy • 7% Liveness
94% Instrumentalness • 8% Positiveness
49% Popularity • 41% Danceability • 43% Energy • 7% Liveness
94% Instrumentalness • 8% Positiveness
